The film begins with a book discussion about "whether a counterfeit has the functional and aesthetic value of the original". As in the story that inspired the writer (the hero) to write, "A mother tells her son the history and aesthetics of a sculpture without telling him that it is a forgery, but the son unknowingly learns from it. The artistic value of the original is seen in the fake.” However, in the case of "unknowing", the meaning of counterfeit lacks discussion value, and in the case of "informed", that is, when you know that this thing is a fake, can it also play a role in you? The effect of the original work is the topic of discussion throughout the film.
The film starts with the aesthetic value and the definition of originality of artworks, and uses the discussion of "art and aesthetics" to lay the foundation for the film, and then continues to discuss the issue of "identity", whether a stranger can replace the original husband. With the identity of "husband", can it play the same function after it has identity. The hostess of the cafe and the man in a couple of tourists both misunderstand the relationship between the writer (the hero) and the art collector (the heroine). Thus, relative to a woman, the writer's identity changes from a stranger to a husband (with the change of language, the transition from English to French is a symbol of identity change), and through a shoulder-shouldering action, the host and the host recognize each other. The identity of husband and wife, and each other is an identity fake to each other. But the pair of fakes began to discuss the crisis and problems of their marriage, and through reconciliation and understanding to eliminate this crisis, the fake even surpassed the original and had an original function.
The same artworks (fakes and originals) have different interpretation methods and aesthetic values in specific situations and contexts. The way is that observers or interveners must start from the assumed meaning and enter their own real situation through fiction. . Just as the heroine can enter a fictional "husband and wife model" through the identification of the writer's "husband status", but gets a real and personal "spiritual comfort".
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